I don’t feature many instrumentals but this one reminds me of the great Telstar. Laika and The Cosmonauts formed in 1987 and was a working band until 2008. The band was named after Laika, a Soviet space dog that died on board Sputnik 2 in 1957. This song came out in 1994 on the Instruments of Terror album…without a hint of the 90s….80s, or 70s for that matter.
They are a Finnish band that take surf rock, ‘60s spy movie music and other twangy influences and give them a spacey feeling.
The song on the album is listed as Psyko (Themes From “Psycho” And “Vertigo”) and they give you an early 60s feel. It seems they take Telstar as a base and go from there.
Musicians who like this band? Del Rey, Mike Campbell and Benmont Tench from the Heartbreakers, and Dick Dale just to name a few.
They released 6 studio albums, 2 compilation albums, and a live album. If you have some time look them up on youtube.
I have heard mostly the 90s music from this band…I recently found this album from 1987 and love it. They formed in 1982 in Glasgow Scotland and are still together today. The only original member left is lead singer Bobby Gillespie. They have shifted in sound through the years. This song was during their power pop period.
This song was on the Sonic Flower Groove album released in 1987. It was met with mixed to bad reviews at the time. The bad reviews caused internal strife within the band. Two members Jim Beattie and Gavin Skinner subsequently resigned. The band then changed directions and shifted to a more rock sound. In the mid-eighties a Byrds sound was not exactly the height of popularity but it would start taking off with bands like REM soon after.
I love the jangling guitar and the overall sound of the song and album. This song, Imperial, Treasure Trip, and many more make this a very good album to me.
Most reviewers now look back on the album with praise. It charted at #62 in the UK charts in 1987. Gentle Tuesday peaked at #87 in the UK charts in 1987.
Gentle Tuesday
Shadow masking matters Can’t conceal the way you really feel It doesn’t fit our souls exist That of they asked me how it is
New morning dew for you Sweet honey hips your lips Hold spells when cast they dwell Like magic in your kiss
Confusion colours cruel designs Unhappy girl, you’re out of time
Gentle Tuesday Sad and lonely eyes Gentle tuesday See yourself tonight
Memories as fat as bees Presents a mess of poison tears A word unkind that tricks our minds We really warned before your time
Happiness, nothing less A universal way Bad seeds but fruit are sweet You choke on empty days Confusion colours cruel designs Unhappy girl you’re out of time
I’ve always liked the Smithereens. They managed to breakthrough to the mainstream with this song and a few more.
Smithereens guitarist and singer Pat DiNizio wrote this as the theme song for the motion picture Say Anything, but DiNizio ultimately withheld the song from the project after he and the film’s producer disagreed on making certain changes to the song. The producer thought it gave away to much of the plot so DiNizio kept it for their next album.
Madonna was originally going to sing the harmony vocals, but failed to show up for the recording session. So the band got Maria Vidal to do the vocals.
This song peaked at #38 in the Billboard 100 and #62 in Canada. It also peaked at #2 in the Mainstream Rock Tracks in 1989. The song was on their third studio album named 11. The album peaked at #11 in the Billboard 100.
The band’s name comes from a Yosemite Sam catchphrase, Varmint, I’m a-gonna blow you to smithereens! They have worked numerous musicians, both in the studio…Belinda Carlisle, Julian Lennon, Lou Reed, Suzanne Vega… and live Graham Parker and The Kinks.
I used to travel in the shadows And I never found the nerve to try and walk up to you But now I am a man and I know that there’s no time to waste There’s too much to lose Girl, you say anything at all, and you know that you can call And I’ll be right there for you First love, heartbreak, tough luck, big mistake What else can you do
I’ll say anything you want to hear I’ll see everything through I’ll do anything I have to do Just to win the love of a girl like you, a girl like you
People talk and people stare, tell them I don’t really care This is the place I should be And if they think it’s really strange for a girl like you To be in love with someone like me I want to tell them all to go to hell That we’re doing very well without them you see That’s just the way it is and they will see I am yours and you are mine, the way it should be
I’ll say anything you want to hear I’ll see everything through I’ll do anything I have to do Just to win the love of a girl like you, a girl like you A girl like you, oh yeah
(Go!)
Now if I seem a little wild, there’s no holding back I’m trying to get a message to you I won’t take anything from anyone I won’t walk and I won’t run, I believe in you London, Washington, anywhere you are I’ll run Together we’ll be Inside, outside, got my pride I won’t let ’em take you from me
I’ll say anything you want to hear I’ll see everything through I’ll do anything I have to do Just to win the love of a girl like you, a girl like you A girl like you, a girl like you A girl like you, a girl like you, oh yeah
I’ll say anything (I’ll say anything) I’ll take anything (I’ll take anything) I’ll say anything, almost anything Except goodbye I’ll say anything (I’ll say anything) I’ll take anything (I’ll take anything) I’ll say anything, almost anything Except goodbye
I have to thank Christian (Christian’s Music Musings) for introducing me to this band and to this song in particular. They resemble some of the roots revival bands I’ve been listening to from the 80s. This small band is a lot of fun.
The band is from Brown County, Indiana. The band consists of The Reverend Peyton, “Washboard” Breezy Peyton, and Max Senteney the drummer. Peyton’s guitar playing is spot on. He uses finger picks to play and also holds the bottom end since they don’t have a bass player. When I saw this video on Christian’s site I went to youtube and got lost in their many songs. They are worth a trip down the youtube rabbit hole. The band can hold a groove and he is an excellent guitar player.
Josh “The Reverend” Peyton first influences were his dad’s records such as Neil Young, Jimi Hendrix, and Bob Dylan. He eventually tried to learn the finger-picking style of artists like Charlie Patton. At the time Peyton was unable to master it, instead playing more pick-oriented blues.
Him and “Washboard” Breezy Peyton were married in 2003 and have been touring ever since. The band has had success…per Wiki: The band released The Front Porch Sessions on March 10, 2017 on the Thirty Tigers label, debuting at #1 on the iTunes Blues chart, and #2 on the Billboard Blues chart
They recorded this album on analog tape which I give a thumbs up to. Dance Songs For Hard Times, was released on April 9, 2021. This is their 10th album.
Reverend Peyton: “I was thinking about all the times where I’ve been somewhere and felt too cool to dance,” “I didn’t want to be that way. Not being able to do anything last year, I had this feeling of, ‘Man, I’m not going to waste any moment like this in my life – ever.’ ”
Too Cool To Dance
I been dreaming about a night like this I been dreaming about your sweet kiss But it won’t happen if we ain’t on the floor And it don’t matter what them folks say They gonna talk some anyway The time is right now What are we waiting for?
We may not get another chance Please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
The stars are high above so bright And the song is hitting us just right It may never be this good again It’s rough outside but not in here They’re all fake but we’re sincere And pretty soon this old song will end
We may not get another chance Please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
We may not get another chance Please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
We may not get another chance Oh, please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
Oh please don’t tell me You’re too cool to dance Please don’t tell me You’re too cool to dance
The thing about ZZ Top is they never seem to take themselves too seriously. No concept albums or big love ballads… just good old fashion boogie blues rock.
I saw them in 1983 in Nashville. I remember the light show was incredible. I’ve never seen anything like it since. Near the end they made it look as if the stage was shaking and someone fell out of the lighting rig to the stage. Everyone at first thought it was a real person but it was a stuffed dummy.
They sounded great that night and it’s a concert I’ll never forget. The Little Ol’ Band from Texas didn’t disappoint. Who knew at that time they would be be together over 50 years with the same members they started out with.
The death of Dusty Hill had me to pull out Tres Hombres and give it another listen. Compared to other trios like Cream or the Jimi Hendrix Experience…ZZ Top played more in a groove. Dusty wasn’t all over the place on bass but he kept that bottom end grounded for Gibbons guitar to dance around in while Beard was locked with Dusty.
Tres Hombres was released in 1973. The album had four of their best known early songs such as La Grange, Waitin’ For The Bus, Jesus Just Left Chicago, and this one.
The album peaked at #8 in the Billboard 100 in 1973 and #13 in Canada…thanks to Vic (The Hinoeuma Cosmic Observation) for the Canada info.
Billy Gibbons: “On to a gig in Phoenix, we were driving through a West Texas windstorm. We, the band, were waiting to discover a place with some safe ground cover when the late-night lights of a roadside joint appeared. It was just across the line outside El Paso into New Mexico.
We ducked in quick and came face to face with our kind of folks… those soulful souls seeking solace, not only out of the dust and sand, but out of mind. What chance does one get better than that! We joined the gathering and started scribbling.”
From Songfacts
Group composition “Beer Drinkers And Hell Raisers” (with or without the ampersand) is a fun track with the band playing up to their Southern redneck image. Unusually, bass player Dusty Hill supplies the lead vocal, backed up by axeman Gibbons.
It has been suggested that the line, “Baby, don’t you wanna come with me?” means something a little more explicit than, “Would you like to accompany me to the honky-tonk, miss?” If that is indeed the case, then the censor missed it; although it was not released as a single it received considerable airplay, including in the UK, where in 1973 this sort of innuendo would not have been tolerated by the BBC.
The original version runs to 3 minutes 23 seconds, and the song has been covered by both Van Halen and Motörhead, the latter of whom produced a blistering track with some fine and innovative soloing by Fast Eddie Clarke, but as is often the case, the original has not been bettered.
Here is a live version from 1980. I don’t like posting live versions unless they were done around the time of the release…this is as close as I could find as far as a video of them.
Beer Drinkers and Hell Raisers
If you see me walkin’ down the line
with my fav’rite honky tonk in mind,
well, I’ll be here around suppertime
with my can of dinner and a bunch of fine.
Beer drinkers and hell raisers, yeah.
Uh-huh-huh, baby, don’t you wanna come with me?
The crowd gets loud when the band gets right,
steel guitar cryin’ through the night.
Yeah, try’n to cover up the corner fight
but ev’rything’s cool ’cause they’s just tight.
Beer drinkers and hell raisers, yeah.
Huh, baby, don’t you wanna come with me?
Ah, play it boy.
The joint was jumpin’ like a cat on hot tin.
Lord, I thought the floor was gonna give in.
Soundin’ a lot like a House Congressional
’cause we’re experimental and professional.
Beer drinkers, hell raisers, yeah.
Well, baby, don’t you wanna come with me?
It’s hard not to like this song. it’s fun and the video should not to be missed. When I was growing up…I don’t remember any friend’s moms looking like Rachel Hunter though.
The song was credited to Chris Collingwood and Adam Schlesinger…but Schlesinger wrote it. Stacy’s Mom was released in 2003 on the Welcome Interstate Managers album.
The intro resembles the Cars Just What I Needed and they even asked Ric Ocasek to be in the video for the song. He never responded but they had some tributes to him in the video. A license plate reads “I ♥ RIC” and a young kid dressed similar to Ocasek with dark hair and sunglasses. They also re-created the scene from the movie Fast Times at Ridgemont High, which featured the Cars’ “Moving in Stereo.”
Adam Schlesinger said that he had Simon & Garfunkel’s “Mrs. Robinson” in the back of his mind when he wrote Stacy’s Mom… “It was a contrast of that story against a track that sounded like ’80s new wave, like The Cars or something.”
Adam also said that one of his friends when he was 11 or 12 was attracted…not to his mom but to his grandmother. He told Schlesinger that she was “really hot.” That incident helped him write the song.
It peaked at #21 in the Billboard 100, #11 in the UK, and #13 in Canada in 2003
The band Bowling For Soup has been misidentified as the band that did Stacy’s Mom. Youtube and even some of their fans even thought they were the band that did the song…so…they covered it! They do sound somewhat like Fountains Of Wayne.
Jaret Reddick (Bowling for Soup leader) said that by finally releasing their own version of the song, “I’ve basically just taken care of a large part of the population that’s been wrong for years, and I’ve made them right.” The cover art for their version of the song release reads: “Finally you can say this is your favorite song by BFS and not look like an idiot!”
Unfortunately Adam Schlesinger passed away on April 1, 2020 from complications of Covid-19…he was only 52 years old.
Songfacts
The Cars’ influence is obvious – just compare the intro of their track, “Just What I Needed,” to the intro of “Stacy’s Mom” to hear for yourself.
This song was a commercial success and reached #1 on iTunes’ Most Downloaded Songs chart. In 2004, it was nominated for a Grammy Award for Best Vocal Pop Performance. Adam Schlesinger told us “Stacy’s Mom” “is definitely the biggest of my own band stuff.” Schlesinger added to Bullz-Eye.com that he does not think Fountains of Wayne will achieve the same level of success they did with “Stacy’s Mom” ever again: “I think ‘Stacy’s Mom’ was a fluke thing where it was the right song and the right video, and you kind of had the novelty factor, and all that stuff. And you can’t really make that happen again.”
Actress and model, Rachel Hunter, portrayed Stacy’s mom in the song’s official video – directed by Chris Applebaum. Parts of the video bear a striking resemblance to the movie Fast Times at Ridgemont High. At one point in the movie, a character named Brad is in a bathroom fantasizing about his sister’s friend and the friend walks in on him. His sister’s name, coincidentally, is Stacy. .
The song featured in a commercial for the Cadillac SRX, which shows a woman picking up her daughter from school. As she does so, men gaze longingly at her “beautifully practical and practically beautiful” …car.
Stacy’s Mom
Stacy’s mom has got it goin’ on Stacy’s mom has got it goin’ on Stacy’s mom has got it goin’ on Stacy’s mom has got it goin’ on
Stacy, can I come over after school? (after school) We can hang around by the pool (hang by the pool) Did your mom get back from her business trip? (business trip) Is she there, or is she trying to give me the slip? (give me the slip)
You know, I’m not the little boy that I used to be I’m all grown up now, baby can’t you see
Stacy’s mom has got it goin’ on She’s all I want and I’ve waited for so long Stacy, can’t you see you’re just not the girl for me I know it might be wrong but I’m in love with Stacy’s mom
Stacy’s mom has got it goin’ on Stacy’s mom has got it goin’ on
Stacy, do you remember when I mowed your lawn? (mowed your lawn) Your mom came out with just a towel on (towel on) I could tell she liked me from the way she stared (way she stared) And the way she said, “you missed a spot over there” (a spot over there)
And I know that you think it’s just a fantasy But since your dad walked out, your mom could use a guy like me
Stacy’s mom has got it goin’ on She’s all I want, and I’ve waited so long Stacy, can’t you see you’re just not the girl for me I know it might be wrong But I’m in love with Stacy’s mom
Stacy’s mom has got it goin’ on She’s all I want and I’ve waited for so long Stacy can’t you see you’re just not the girl for me I know it might be wrong I’m in love with (Stacy’s mom oh oh) I’m in love with (Stacy’s mom oh oh) Stacy can’t you see you’re just not the girl for me I know it might be wrong, but I’m in love with (Stacy’s mom oh oh)
There was quite a big garage band scene in the 80s from all over the world. These bands stuck close to their ancestors so to speak but with a little more punch in the modern recording. They avoided the dated sound unlike some of their more popular peers.
The Cynics were from Pittsburgh and along with the Chesterfield Kings, the Milkshakes, and the Fuzztones were early founders of the 1980s garage rock revival movement. The picked up from where the garage bands from the 60’s garage bands.
This band is not limited to garage rock. I’ve heard everything from power pop to folk from them in songs.
Gregg Kostelich started the Cynics in 1983. The other members were drummer Bill Von Hagen, vocalist Michael Kastelic who joined in 1985, bass player Steve Magee, and keyboardist Becky Smith who debuted with their first album, Blue Train Station in 1986.
Baby What’s Wrong was on their Rock and Roll album released in 1990.
Their first two 45s were released by the Californian Dionysus label, but soon after Gregg had established his own Pittsburgh-based Get Hip Recordings who would release all of The Cynics albums and singles. The label also releases records by fellow garage bands, power pop, and punk bands around the world.
The band is still togehter with members Gregg Kostelich, Michael Kastelic, Pablo González “Pibli”, and Angel Kaplan.
The band released 8 albums between 1986 to 2011 with the Spinning Wheel Motel album.
Gregg Kostelich: “I was maybe 4 or 5 when I started collecting Garage records, and I’ve been listening to that type of music ever since. And I was lucky enough to see a couple of shows I was a little kid…my parents would bring to see bands like THE SONICS and THE BLUE MAGOOS and THE WHO, when I was about 7 or 8! I didn’t know what was going on really, but it was really exciting. I was kinda embarrassed in a way because I was with my parents.” “Yeah, maybe I got brain damage from all the noise!”
I got a lot of info off of their record company’s website…check them out and their music.
You didn’t hear me when I tried to tell you You didn’t see me when I looked so lonely You didn’t answer when I said, “Where you going?”
You didn’t see the way you drive me crazy
Baby what’s wrong with me I can’t seem to turn your head Baby what’s wrong with me I’m always going home to an empty bed
You got my number, you never use it You got my choice, but you never choose it You got those brown eyes, they’re hiding something If I could open up, I’d let you in
Baby what’s wrong with me I can’t seem to turn your head Baby what’s wrong with me I’m always going home to an empty bed
Maybe some day, there will be a full moon We’ll be together, in the same room Open our eyes, see what we’re missing My hard time is maybe they’re dissing
Baby what’s wrong with me I can’t seem to turn your head Baby what’s wrong with me I’m always going home
Baby what’s wrong with me I can’t seem to turn your head Baby what’s wrong with me I’m always going home
Bruce Springsteen:“Overnight Sensation (Hit Record) should go down as one of the great mini-rock-opera masterpieces of all time”
In the nineties I bought the Raspberries greatest hits. I listened with headphones to each song until I heard this one. I stopped and listened to it repeatedly. It’s one of those songs that goes beyond other songs…It is truly a pop-rock symphony. I was amazed that I never heard this before.
Overnight Sensation (Hit Record) is an epic, ambitious, grand, lofty, extravagant, and brilliant song from the Raspberries. They were swinging for the fences when they made this song and they hit it out of the park. It’s on the album Starting Over released in 1974.
Put some headphones on and listen to this completely to the very end… When I hear it, I think this is what it would sound like if The Who, Beach Boys, and Beatles made a song together…this would be it. Musically you have a little of everything. Sliding bass lines, tasteful guitar licks, great vocals, a sax solo that gives way to more lyrics as the song morphs into an AM radio sound… and then comes a solo piano.
Stay until the very end because they dupe you into a fake ending and the drums will come in as if the world is going to end. Then… a Beach Boys final huge crescendo wave will wash over you like a warm summer moonlit night. It’s a wall of sound of ecstasy that you wish would go on forever.
The song is about trying to make it in the music business. It’s Eric Carmen singing with desperation wanting a hit record on the radio. After this album, the Raspberries were no more. This was Eric Carmen at his absolute best before he went solo and became an ordinary pop singer. He would never try anything this ambitious again.
Certain songs we all know are timeless. In a perfect world this one deserves to be on that list. I don’t use the word masterpiece a lot but I would consider this song one. The musical arrangement is second to none in terms of arrangement, production, and harmonies.
Although “Go All The Way” was their big hit of their career…this one is in a different league and they never equaled it. Most people don’t know this song and it’s a musical injustice. I only hope more people discover it.
The three best power pop bands of the early to mid-seventies were Big Star, Badfinger, and The Raspberries. Badfinger were the most successful (and they paid dearly for it), Big Star wasn’t even known, and The Raspberries had one top ten hit with few very good minor ones. All three of these bands were too rock for pop radio and too pop for rock radio…in varying degrees they fell into the cracks of history… none of them had long careers.
John Lennon was said to be a fan of the group. He was producing Nilsson’s Pussycats at the same time The Raspberries were making this album at the Record Plant. John supposedly was blown away by Overnight Sensation.
The song peaked at #18 in the Billboard 100 and #22 in Canada in 1974.
Overnight Sensation (Hit Record) Well I know it sounds funny But I’m not in it for the money, no I don’t need no reputation And I’m not in it for the show
I just want a hit record, yeah Wanna hear it on the radio Want a big hit record, yeah One that everybody’s got to know
Well if the program director don’t pull it It’s time to get back the bullet So bring the group down to the station You’re gonna be an overnight sensation
I’ve been tryin’ to write the lyric Non-offensive but satiric too And if you put it in the A-slot It’s just got to make a mint for you
I fit those words to a good melody Amazing how success has been ignoring me So long I use my bread making demos all day Writing in the night while in my head I hear The record play Hear it play
Hit record, yeah Wanna hit record, yeah Wanna hit record, yeah (number one)
Canadian Bachman Turner Overdrive was one of those bands in the early to mid seventies that just kept pumping out hits.
Randy Bachman and Fred Turner of Bachman-Turner Overdrive got the idea for this song when they were driving to a gig in New Orleans.
They were driving on a highway when a few truckers decided to have some fun with the musicians, who were riding in the little van from Canada. The truckers boxed them in and slowed down to a crawl. When they finally turned into a truck stop, Randy and Fred followed them with the intent of giving them a good talking to…but when they met up with the trucker Randy said “The trucker looked like a Volkswagen with a head.” The truckers had a good laugh and told the band that they needed to learn to “Let it ride.”
Bachman and Turner had never heard that expression before, but they liked the sound of it: it meant to just relax and not let things upset you. When they got to New Orleans, they wrote the song in their dressing room.
The song was on their album Bachman–Turner Overdrive II released in 1973. The album peaked at #6 in Canada and #3 in the Billboard Album Chart.
The song peaked at #2 in Canada and #23 in the Billboard 100.
Songfacts
The distinctive guitar riff in this song is something Randy Bachman came up with after listening to a classical piece by Antonin Dvorak called “Piano Concerto in D.” He transposed a chord progression he heard in the piece to guitar, which sounded great.
Bachman believes that pretty much any piece of modern music is based on something that came before. When we spoke with him in 2014, he said: “You’ve got to get them, reshape them, and hopefully they are reshaped enough that you can call it original.”
All of the background vocals were sung by Fred Turner, which caused a flanging effect that Randy Bachman liked.
Does this song’s intro sound similar to that of “Long Train Runnin'” by the Doobie Brothers? Randy Bachman thinks so. He says that the Doobie Brothers were sharing a dressing room with him and Fred Turner the night they came up with “Let It Ride,” and the Doobies nicked the riff for their song.
Let It Ride
Good bye, hard life Don’t cry would you let it ride? Good bye, hard life Don’t cry would you let it ride?
You can’t see the mornin’, but I can see the light Try, try, try let it ride While you’ve been out runnin’ I’ve been waitin’ half the night Try, try, try let it ride
And would you cry if I told you that I lied and would you say goodbye or Would you let it ride? And would you cry if I told you that I lied And would you say goodbye or would you let it ride?
Seems my life is not complete I never see you smile Try, try, try let it ride Baby you want the forgivin’ kind and that’s just not my style Try, try, try let it ride
And would you cry if I told you that I lied and would you say goodbye or Would you let it ride? And would you cry if I told you that I lied And would you say goodbye or would you let it ride?
I’ve been doin’ things worthwhile, you’ve been bookin’ time Try, try, try let it ride
And would you cry if I told you that I lied and would you say goodbye or Would you let it ride? And would you cry if I told you that I lied And would you say goodbye or would you let it ride?
Would you let it ride Would you let it ride Would you let it ride Would you let it ride
Try, try, try let it ride Try, try, try let it ride Try, try, try let it ride Try, try, try let it ride
Try, try, try let it ride Try, try, try let it ride Try, try, try let it ride Try, try, try let it ride
Try, try, try let it ride Would you let it ride? Would you let it ride? Would you let it ride? Would you let it ride?
The Feelies were an inspiration to REM and many alternative bands in the 80s. They formed in 1976 and disbanded in 1992 having released four albums. The band reunited in 2008, and most recently released albums in 2011 and 2017.
The band’s name is taken from a fictional entertainment device described in Aldous Huxley’s Brave New World.
The song was released in 1986 on the album The Good Earth with REM’s Peter Buck producing. It was written by members Glenn Mercer and Bill Million. The band toured in support of the album as an opening band for Lou Reed as well as REM that year. The album was one of their most successful albums.
It certainly doesn’t have earth shaking lyrics but it’s a gorgeous over all sound and atmosphere they produce. It reminds me of something that would be on a movie soundtrack…it’s over with before you know it.
Let’s Go
Well alright Well alright Let’s go Let’s go Let’s go Let’s go All night long All night long (spoken?)
Why don’t we ? I know you? Why don’t we ? I know you? Go low (?) Low low (?) Go slow Slow All night long All night long
I love how this song starts off like I Want To Hold Your Hand and then turns into a 60s mild psychedelia that sounds familiar to ? and the Mysterians the 60s American garage rock band.
They were formed in 1979 in Rochester, New York by the former singer of the Distorted Levels, Greg Provost, an underground music journalist, with Andy Babiuk and keyboardist Orest Guran, the Chesterfield Kings offered their own version of psychedelia.
This song was released in 1984 with the B side I’ve Gotta Way With Girls. She Told Me Lies was written by Andy Babiuk, Cedrick Cona, Doug Meech, Greg Prevost, and Orest Guran.
The band, named after a defunct brand of unfiltered cigarette, was instrumental in sparking the 1980s garage band revival that launched many bands with a heavy 60’s influence that ignored the current trends.
The band was active from 1979 to 2009.
In 2000 they made a movie! From IMDB here is the description:
Its Ed Wood meets A Hard Days Night when Greg, Andy, Mike, Ted, and Jeff, together The Chesterfield Kings take on the evil Andro, a maniacal extraterrestrial bent on world domination. The cosmic showdown sends The Kings racing around the globe, from London to Rome, Las Vegas, and Honolulu in a desperate attempt to reclaim drummer Mike whose held hostage by the deranged alien. Can The Chesterfield Kings find their drummer, halt Andro’s master plan, and save the world, all in a brisk seventy minutes? You’ll have to see it to know for sure, but you can count on some killer tunes along the way including The Chesterfield Kings’ new single “Yes I Understand” and “Where Do We Go From Here” featuring lead vocals by Mark Lindsay formerly of Paul Revere and the Raiders in a cameo appearance.
I really want to see that movie.
Greg Provost:“Even when we were doing the garage stuff, we ended up sounding like the Stones. I love bands like the Sweet or Queen, but we could never sound like them. I can’t sing that good! So, we’re just going to capitalize on the kind of stuff we can sound like.”
She Told Me Lies
She told me lies She left me on my own She told me lies I’ll drive away and hide Yeah she cheated, she lied
She told me lies She hurt my pride She told me lies I’ve got tears in my eyes She told me lies I ain’t got nothing to say Yeah she left me today
She went walking to the door I won’t ever see her face no more I don’t know why she treated me bad She’s the only true love I ever had But now she’s gone
She went walking to the door I won’t ever see her face no more I don’t know why she treated me bad She’s the only true love I ever had But now she’s gone
She told me lies But now she’s gone She left me on my own I’ll drive away and hide Yeah she cheat, she lied
Yes Joe you can…When I first heard this in the early 80s on MTV it was such a relief to hear a guitar playing a rock and roll riff. It’s a simple comedic Joe Walsh song… and sometimes that is just what we need.
This is not Joe’s finest work but it’s fun and brings back memories. . After being restrained somewhat with the Eagles it was good to see him let go. This song was on the album You Bought It You Name It. The album has varied styles from reggae, new wave, and rock and roll. The song peaked at #13 on the Billboard Mainstream Rock Airplay list.
The video of Joe trying to kill a fly in a hotel room was burned into my brain as this was on heavy rotation on MTV for a little while. Joe had a deadly aim with the Fender Strat to the television…years of practice I would guess.
In the middle of then current songs such as Safety Dance, Mickey, and Mr. Roboto this minor hit was a welcomed relief to me on MTV and the radio.
I Can Play That Rock and Roll
Well that disco thing can sure get funky All them pretty songs seem too slow I like to sit and pick with them good old boys Maybe New Wave’s in, I just don’t know When the critics try to analyse the current trend I just sit back and watch ’em come and go Cos I can play that rock and roll Oh, now I can play that rock and roll Hey now, I can play that rocking rock and roll
If you, if you wanna party at the next election Only one way to go Put on a rocking rock and roll selection Turn up and vote And you can check out anytime you want Just call me Joe And I can play that rock and roll for ya… Yeah yeah yeah yeah I can play that rock and roll Yeah, now now, I, I, I, well I can play that rock and roll Well I can play that rock and roll I can play that rock and roll
It’s been a while since we covered Cheap Trick and the time has come now. This is a power pop gem from the In Color album released in 1977. Cheap Trick is one of those bands that can cross genres with rock, pop, and heavy metal fans liking them.
This album was released the year before their Cheap Trick at Budokan album that would break their career open. This album has the studio version of I Want You To Want Me that would be a hit off of that live album
This album is a great album as well. It has Southern Girl, Hello There, and The Clock Strikes Ten just to name a few.
In Color peaked at #73 in the Billboard Album Chart in 1977 (I found no Canadian chart for this)…and #30 in Japan…a country which would be important in their career. The song was written by Rick Nielsen.
This song reminds me of a warm seventies evening around twilight cruising with your friends…with a Cheap Trick T-Shirt on of course.
Come On, Come On
Ooo I’m feelin’ good Oh so good Don’t you ruin it tonight, tonight It’s been so long since I don’t know when Ooo treat me, treat me, treat me right Don’t be like sheep and follow the flock Show me you really want to be mine
Ooo I’m feelin’ good Oh so good Don’t you ruin it tonight, tonight It’s been so long since I don’t know when Ooo treat me, treat me, treat me right Don’t be like sheep and follow the flock Show me you really want to be mine
Come on, come on I know you can do it Come on, come on There ain’t nothing to it Come on, come on I know you believe me Come on, come on You can see the real me Every day, every day I need you, I want you Come a little closer to my face Oh little girl I need you now
The song was co-written by brothers Angus and Malcolm Young, and lyricist Bon Scott. The title track of and the third track on the band’s fourth album, it was released as a single in October 1977 backed by “Problem Child.”
George Young (Angus and Malcolm’s brother), acted as producer alongside partner and former bandmate Harry Vanda. In a familiar writing and recording process that was fast, furious and inspired, the entire album was completed in a matter of weeks.
The music video for “Let There Be Rock” was filmed in July 1977. It was recorded in the Kirk Gallery church in Surry Hills, New South Wales and featured Bon Scott, Angus Young, Malcolm Young, Phil Rudd, and Cliff Williams, who replaced Mark Evans as the band’s bassist shortly after the Let There Be Rock album was released.
Angus Young:“I remember the amp literally exploded during the recording session. My brother watched it with crazed eyes, and he told me ‘Come on! Keep on playing!’ while the stuff was steaming.”
From Songfacts
Running to a shade over 6 minutes, it was produced by Harry Vanda and George Young.
In spite of its appearing to be nothing more than a typically mindless rock anthem, this is actually quite a sophisticated track:
In the beginning
Back in 1955
The white man had the schmaltz
The black man had the blues
is an allusion to the birth of rock ‘n’ roll. The genre developed from boogie woogie; the first rock ‘n’ roll song is generally acknowledged to be “Rocket 88,” to which Ike Turner was a very unlikely contributor considering the way his music was to develop, but then the two men who gave rock ‘n’ roll to the world in the first instance were if anything even more unlikely. There was the white man – who had performed as Yodelling Bill Haley – and the black man, a qualified beautician named Chuck Berry. Both Haley’s “Rock Around The Clock” and Berry’s “Maybellene” were released in 1955, and as they say, the rest is history.
An anthem for the band, AC/DC has played this song at every concert since 1978. They often play it very fast and the solo can be extended all the way to 20 minutes as Angus rises above the stage and does the “spasm.”
Let There Be Rock
In the beginning Back in nineteen fifty five Man didn’t know about a rock ‘n’ roll show And all that jive The white man had the smoltz The black man had the blues No one knew what they was gonna do But Tchaikovsky had the news He said
Let there be sound, and there was sound Let there be light, and there was light Let there be drums, and there was drums Let there be guitar, and there was guitar Let there be rock
And it came to pass That rock ‘n’ roll was born All across the land every rockin’ band Was blowing up a storm An the guitar man got famous The businessman got rich And in every bar there was a super star With a seven year itch There were fifteen million fingers Learning how to play And you could hear the fingers picking And this is what they had to say
Let there be light Sound Drums Guitar Let there be rock
One night in a club called the shaking hand There was a ninety two decibel rocking band The music was good and the music was loud And the singer turned and he said to the crowd
Ever since I heard this band on our alternative radio station in Nashville…Lightning 100 I’ve liked them. The Jayhawk’s writing and voices won me over with songs like Blue and I’m Gonna Make You Love Me.
This song opens up their Hollywood Town Hall album. The album peaked at #192 in the Billboard Album Charts and #11 in the Top Heatseekers Charts.
Benmont Tench, Charley Drayton, and Nicky Hopkins plays on the album with the Jayhawks.
The Jayhawks are an American alternative country and country rock band that emerged from the Minneapolis–Saint Paul music scene in the mid 80s. Minneapolis had a strong scene for bands in the 80s. The Replacements, Husker Du, Soul Asylum, and of course the big one…Prince.
The song, like most of The Jawhawks early cuts, is credited to the band’s guitarist Gary Louris and frontman Mark Olson.
Gary Louris: I didn’t know there was a song called “Waiting for the Sun,” I was not a Doors fan. I like them now, but I didn’t know there was a song called that. Maybe in my subconscious I did.
From Songfacts
According to Mark Derning of Allmusic.com, the song details, “a man who has lost his love under unpleasant circumstances and has hit the road, looking for something better from life and hoping a fair deal from the fates.”
Waiting For The Sun
I was waiting for the sun Then I walked on home alone What I didn’t know Was he was waiting for you to fall
So I never made amends For the sake of no one else For the simple reason That he was waiting for you to fall
It was not lost on me It was not lost on me Walkin’ on down the road Looking for a friend to handout Somethin’ might ease my soul
So I kept my spirits high Entertaining passers-by Wrapped in my confusion While he was waiting for you to fall
It was not lost on me It was not lost on me Walkin’ on down the road Looking for a friend to handout Somethin’ might ease my soul
It was not lost on me It was not lost on me Walkin’ on down the road Walkin’ on down the road Walkin’ on down the road Walkin’ on down the road
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